Monday, May 2, 2011
MUTIOC 7pm, Wednesday May 4th
-UK Electric-
Music Under the Influence of Computers continues
with a program curated by Adam Stansbie:
Ciguri - Felipe Otondo
Still Voices - Pete Stollery
Causal Impacts - Manuella Blackburn
Cuckoo Borough - Dale Perkins
Intermission:
Early Morning - Adam Stansbie
Mint Cascade - Andy Dolphin
3 Pieces: Horn - Adrian Moore
Programme notes and Biographies:
Felipe Otondo – Ciguri
This work was developed using part of the music for the dance theatre piece To have done with the judgment of Artaud commissioned by Base Theatre for the 2007 Edinburgh Fringe Festival. The composition is inspired in the writings of Antonin Artaud among the Tarahumara Indians in Mexico and is structured as different states of intensity stemming from the ritual of the peyote. The piece explores the inharmonic timbral character of different types of bell sounds blended and contrasted in an expanding and contracting time framework that varies from rhythms to textures of irregular sounds.
Felipe Otondo – Biography
Born in Santiago, Chile, studied acoustics in Chile and perception of sound in Denmark, where he worked several years as a researcher in the field of musical acoustics and computer music. He studied composition in Copenhagen with Anders Brødsgaard, completed a PhD in composition at the University of York with Ambrose Field and Roger Marsh and since 2008 works as lecturer at the Lancaster Institute for the Contemporary Arts of Lancaster University. His music has been played in festivals in Europe, Asia and the Americas and has received composition prizes in Italy and Brazil.
For more information, see: www.otondo.net
Pete Stollery – Still Voices
Still Voices is part of a larger project called Gordon Soundscape, which is an attempt to map the sonic diversity of the former Gordon District in Aberdeenshire, Scotland. The project comprises acousmatic/soundscape concert pieces Still Voices and Fields of Silence, an interactive website and a sound documentary/installation (Resound).
I have become fascinated by the potential power that I have as a composer working with technology and fixed media to conserve sounds which will soon no longer exist. Workers at the Glendronach Distillery in North-East Scotland were told in 2004 that the plant was to move from coal-fired processes to a more ecological method of heating. They began to realise that the sounds they had become used to as part of their daily work - raking out the kilns, kiln doors closing, coal pouring from the back of delivery lorries - were soon to disappear for ever.
Originally, I had intended to make a few recordings of these "disappearing sounds" and use them in the sound documentary/installation part of the project. However, it became clear to me, during the visits I made to the distillery, that there were many more interesting sounds which were crying out to be used and so I decided to make an entire piece using sounds recorded from both inside and out, including rolling whisky barrels along the ground, grain milling machines and the Glendronach Burn which runs through the distillery grounds.
Still Voices was commissioned by Gordon Forum for the Arts, with funds provided by Aberdeenshire Council and the Scottish Arts Council. It received its first performance in one of the auction rings at the Thainstone Centre, Inverurie in November 2005 as part of sound. It reached the final of the Sounds Electric 07 Electroacoustic Music Competition and won Honourable Mentions at Musica Nova 2007 and Destellos Competition 2009.
Pete Stollery – Biography:
Pete Stollery (born Halifax, UK 1960) studied composition with Jonty Harrison. He now composes almost exclusively in the electroacoustic medium, particularly music where there exists an interplay between the original "meaning" of sounds and sounds existing purely as sound, divorced from their physical origins. In his music, this is achieved by the juxtaposition of real (familiar) and unreal (unfamiliar) sounds to create surreal landscapes. His music is performed and broadcast throughout the world. His music is published by empreintes DIGITALes in Montréal and a solo DVD-A Un Son Peut en Cacher un Autre was released in 2006.
Shortstuff (digital music) was awarded Special Prize in the Musica Nova 1994 competition; Onset/Offset (digital music) was given an Honourable Mention at the Stockholm Electronic Arts Award, 1996 and also the 1st Pierre Schaeffer Competition for Computer Music; Altered Images (digital music) won 2nd prize at CIMESP ‘97 (Concurso Internacional de Música Eletroacústica de São Paulo); Vox Magna was awarded an Honourable Mention in the Musica Nova 2003 competition and was pre-selected for the 32nd Bourges International Competition of Electroacoustic Music and Sound Art in 2005.
He has collaborated with a number of artists from all aspects of the arts, most notably sculptor Anne Bevan, with whom, along with choreographer Andy Howitt, he collaborated to produce the multimedia piece Sunnifa to great acclaim at the St Magnus Festival in Orkney.
He has also worked with sound designer Peter Key on a number of projects including Our Dynamic Earth in Edinburgh, UK and Magna in Rotherham, UK.
He is currently Head of the School of Education and Professor in Electroacoustic Music and Composition at the University of Aberdeen where he is able to guide school children, students and teachers in the creative use of technology in music education. He is also Artistic Director of discoveries - an occasional series of concerts in Aberdeen which aims to bring together electroacoustic works by school children and students to be performed alongside works by established composers from around the world.
He has been Chair of Sonic Arts Network, the national organisation supporting electroacoustic music and sonic art in the UK, for which he has been a board member since 1985; he was also editor of the Journal of Electroacoustic Music published annually by SAN. In 1996, along with Alistair MacDonald, Robert Dow and Simon Atkinson, he established the group invisiblEARts whose aim is to perform acousmatic music throughout Scotland and to promote Scottish acousmatic music to a wider audience, both in Scotland and abroad.
Manuella Blackburn – Causal Impacts
This piece was composed around the notion of causality. Source materials, indistinguishably derived from electric guitar sounds, are presented in brief phrases displaying leading trajectories and impact-like terminations. Causal Impacts was a finalist in the 2006 Bourges International Electroacoustic Music and Sonic Arts Competition and also gained first prize in the 7 th Musica Viva Electroacoustic Competition 2006 in Portugal.
Manuella Blackburn – Biography
Manuella Blackburn was born in London in 1984. She went on to gain a bachelors degree in Music at The University of Manchester followed by a Masters in Electroacoustic Composition, gaining a Distinction and the Peter J Leonard Composition Prize. She has completed a PhD at the University of Manchester with Dr Ricardo Climent's supervision, supported by the Arts and Humanities Research Council (AHRC). Manuella is now as a lecturer in music technology at Liverpool Hope University.
Successes include First Prize for her work Vista Points in the 10th Musica Viva Electroacoustic Music Competition, 2009, Portugal, and Grand Prize in the Digital Arts Awards, Japan for Kitchen Alchemy. She has received Honorary Mentions in the CMMAS competition in Mexico and in the VII CIMESP (Concurso Internacional de Musica Eletroacustica de Sao Paulo 2007. Other awards include First Prize for her acousmatic work, Causal Impacts, in the 7th Musica Viva Electroacoustic Competition 2006, Portugal 2nd Prize in the Diffusion Competition, Limerick, Selection in the 2006 Bourges International Electroacoustic Music and Sonic Arts Competition, and the Public Prize in the CEMJKO competion in Brazil.
Manuella is also a member of The Splice Girls live laptop improvisation duo, who have been performing together since 2006. Together with Dr Diana Simpson Salazar they utilize tools built in Max MSP to create messed up loops and shimmering soundscapes. They regularly perform at experimental music events. Highlights include a 'sonic ferry' at the Sonic Arts Network in Plymouth and Florida at the Atlantic Centre for the Arts (2008).
Dale Perkins – Cuckoo Borough
Cuckoo-borough is the second (although composed last) of a group of works that comes under the heading Voice Without Words, and explores the auralisation of exhaustion, pathetic inadequacy and anger; the potential symptoms of cultural anxiety (other works in the series are Swan Song and Dark Bird). Cuckoo-borough relies on asynchronous loops as a structuring device that supports a number of vocal statements along with other heavily transformed materials such as textures and glitch artefacts. Although it is hoped that the listener will experience emotional qualities as an emphatic response through the listening process, no lexical indications are given to present an established language more commonly associated with syntactical organisation (for example, the syntax of English). However, from a semantic point-of-view, such vocal externalisations and treatments are likely to be perceived as suggested psychological states. The piece was conceived in both stereo and 5.1 surround formats.
The name is derived from the description below.
The common cuckoo may be described as a brood parasite, because it lays its eggs in the nests of other bird species. After surveying a chosen area within a borough occupied by other species, the hen cuckoo flies down to the victim’s nest, pushes one egg out of the nest, lays a replacement egg and flies away. Once hatched, cuckoo chicks methodically evict all progeny from the host nest whether that be an egg or a chick.
Often a borough is a single town with its own local government. However, in some cities it is a subdivision of the city. Whatever the case, a borough will be populated and will be measured in various ways. For example, crime rate and therefore questions of morality. Many interesting comparisons can be made with the common cuckoo when comparing it to, for example, crime, law and government policy.
Dale Perkins – Biography
Dale Perkins is a Principal Lecturer (Research and Postgraduate Studies) at Leeds College of Music and teaches on the College’s BA and MA Music Production programmes. His research interests lie in electroacoustic music composition and compositional analysis. Dale is the Director of the Electronic Music Ensemble n.one and founder of the Forum for Innovation in Music Production and Composition (FIMPaC). In addition to being a composer, Dale has commitments to electroacoustic music analysis and perception and welcomes interdisciplinary approaches to further our understanding of compositional methodology and its reception. His works have been performed both nationally and internationally and he is an active member of the Composers' Desktop Project along with leading electroacoustic composers such as Trevor Wishart. His work Voice Without Words was awarded a selection at the Bourges International Electroacoustic Music Competition (2009). Works are available on the compilation CDs Pressence III and DISContant! III - www.electrocd.com/bio.e/perkins_da.cat.html. A number of works are available to download from Amazon.co.uk and iTunes. www.dalejperkins.co.uk
Adam Stansbie – Early Morning
Early Morning is derived from five piano performances recorded in a variety of spaces over a period of several years. These performances incorporated both traditional and extended instrumental techniques, generating a wide variety of gestural and textural materials. Although these materials informed the overall unity of the piece, sound transformations proved to negate the piano as a recognisable source. Instead, the focus is upon the gradual accumulation and dispersal of spectral detail; these broad contours enhance the spatial impression, suggesting the expansive shaping of physical landscapes. The structure of the piece was inspired by the awakening of an early morning scene and its illumination in first light.
Early Morning received 1st Prize in the Metamorphoses international competition 2006, category A
Adam Stansbie – Biography
Adam Stansbie (1981) is a sound artist involved in the creation and performance of electroacoustic music. He has presented works at festivals and concerts throughout Europe, Asia, North and South America and Australasia and has won numerous awards, including: Residency Prize at the Bourges International Competition, (France, 2006), First Prize at the International Acousmatic Competition ‘Metamorphosis’, Category A (Belgium, 2006), First Prize at the Destellos Competition (Argentina, 2010). Adam has worked in various prestigious European studios (including the IMEB, France (2007, 2008), Musique et Recherché, Belgium (2009), VICC, Sweden (2010) and USSS, UK (2010)). In addition, he has taught at several UK Higher Education institutions; he is currently Senior Lecturer in Music, Sound and Performance at Leeds Metropolitan University.
Andy Dolphin – Mint Cascade
Mint Cascade explores and extends the spatial motion, and spatial features of recordings of kinetic objects, with all spatial movement in the piece derived from 8 channel recordings of the animated source. The kinetic materials transform, cascade, instigate and collide.
Andy Dolphin – Biography
Andy Dolphin is a composer, digital artist and lecturer in Music, Sound & Performance at Leeds Metropolitan University. His research interests include electroacoustic composition, spatial audio, and developing interactive compositional systems, or sound toys incorporating game engine technologies for sonic purposes. He is currently completing a PhD at SARC (Sonic Arts Research Center), Queen's University, Northern Ireland.
Adrian Moore – 3 Pieces: Horn
3 Pieces were written as part of a collaborative event focusing around a horn trio. Originally conceived as 'electroacoustic interludes', 3 Pieces evolved into something much larger, taking in a research project exploring the nature of free play and improvisation within fixed medium works (3 Pieces exists in 5.1 surround sound format). Each piece worked upon a very small number of sources/themes and developed material through experimentation using traditional electroacoustic techniques.
This piece has a number of highly dense textures which open up in the 5.1 space. The textures here result from both extended techniques and, more 'orchestral' moments. I would like to thank Tom James for some excellent horn samples.
3 Pieces were realized in 2007 in the composer’s studio and premiered in their entirety in April 2007 at the University of Western Australia, Perth.
Adrian Moore – Biography
Adrian Moore is a composer of electroacoustic music. He mainly composes music for fixed formats (CD, DVD), music intended for ‘sound diffusion’ over multiple loudspeaker systems. He also writes for instruments, often with a live processing element using Max-MSP and custom built software. He directs the University of Sheffield Sound Studios (USSS) where researchers and composers collaborate on new musical projects. Adrian Moore’s research interests are focused towards the development of the acousmatic tradition in electroacoustic music, the performance of electroacoustic music, signal processing, and human-computer interaction in music. His music has been commissioned by the Groupe de Recherches Musicales (GRM), the Institute International de Musique Electroacoustique de Bourges (IMEB) and the Arts Council of England. A significant proportion of his music is available on 2 discs, ‘Traces’ and ‘Rêve de l’aube’ on the Empreintes DIGITALes label (www.electrocd.com).
Monday, April 4, 2011
Program Notes for: The Sound Theater
Notes About the Program:
Matthew Barber writes about his work: “I wrote Interface Chapel for Scott Worthington in 2008. It exists in two versions: one, which you will hear tonight, is a six-movement suite for solo contrabass and computer. The other situates these six movements among 22 others, played by members of a large ensemble. Each of the six movements is designed after one of six important abstract solid objects, collectively the sphere and the Platonic Solids. The Platonic Solids are the regular polyhedra, that is, for a given solid all of the faces and vertices are identical. Examples include the usual cube, the tetrahedron which is a 4-faced pyramid, and the octahedron which is like a pair of Egyptian pyramids glued base to base. In each movement except for Sphere I imagined assigning each face of a polyhedron to some musical idea, such as a tempo, a spatial placement, a timbre, a register, a specific musical figure and so forth. Next I imagined traveling from vertex to vertex until I reached all of them. A number of faces meet at a vertex, and so for a given section I draw only upon the elements assigned to the faces which meet at the vertex at hand. For the sphere I imagined traveling in various directed motions along the outside and inside surface. Each movement is in a different tuning system – some of these systems approximate mean-tone tunings, and some are more overtly microtonal.
In each movement I also use various contrapuntal techniques or constraints, which often depend upon the computer processing. In Octahedron all of the pitches are from open strings or harmonics. In Icosahedron the contrabass plays repeating patterns in different meters using a snare-drum stick, among prerecorded contrabasses playing similar repeating figures. Sphere has the most obvious processing, which seeks to echo and reflect the music played by the bass, and to add octaves above and below the pitches the bassist plays. Later on in the piece, the octaves change to perfect-12ths, and the corresponding underlying scale changes as well. You may hear Dodecahedron as a kind of quarter-tone “baroque” prelude, in straight 16th notes: some of the notes are prerecorded, though, so there is a secondary dance-like counterpoint between the live and recorded bass sounds. In Tetrahedron I use the computer to transpose the sound of the bass to make something which might sound like a microtonal version of a medieval vocal piece. Finally, Cube records the bass sounds and plays them back at different tempos (and therefore at different pitches) in counterpoint with the live bass, creating a kind of electronic canon.
Paul Koonce writes about his work: "My goal ... is to identify a kind of real-time voice and corporeality for electroacoustic music -- a kind of presence predicated on the linking of sophisticated sound models with non-trivial controls. The search for sound presence -- unbelievable presence -- has driven much of my electro-acoustic work going back to Hothouse and its concern with creating anomalous, ear-catching sound events."
This concert presents two of Koonce's seminal works. In Pins (1996) Koonce begins with the sound of children playing the classic video game “Pong”. These everyday sounds are manipulated and layered to create an evolving drama of sound. Sounds of street musicians, creaking doors, and forest insects blend with those of video games, office work, game shows, isolated musical instruments and traffic (among others) to create an always fluid fantastic daydream composed of varying densities of sonic reference.
As the title suggests Bernard Parmegiani's De Natura Sonorum (2001) is a collection of etudes on the nature of sounds. Already a tower in the style of composition known as musique concrete the fact that Parmegiani would humble himself in the composition of a series of etudes so late in his life is a testament to the ever inspiring resource Parmegiani found in everyday sounds and, as the title suggests, the nature of sound itself. Here we present two selections from a collection of 12 studies. In Incidences Résonances Parmegiani uses the ideas of resonance and interjection to create motives during his development of metallic timbres. In Conjugaison Du Timbre Parmegiani creates an almost pyschedelic exploration of the timbres of a low woodwind instrument through granular synthesis, layering, and filtering.
Koonce's Hothouse (1992) begins with what might be heard as a surreal recording session consisting of a drumset, upright bass, and a saxophone. The sounds of children and men's voices interject and give cause to the instruments' varied and wild responses. A more intense work than Pins, Hothouse's title undoubtedly references the term as it has been applied in the lore of Jazz music, a use of the term that invokes the idea of a space for vigorous growth and development. Here Koonce stretches the Jazz Trio using digital audio techniques to create a surreal, moody, and highly dramatic reflection of this tradition.
Scott Worthington writes about his work: “Before composing At Dusk, I had become jealous of pianists' ability to hold the sustain pedal of their instrument down indefinitely, allowing the strings to freely resonate, and hoped to find a way to let the bass resonate in a similar fashion. To this aim, I wrote a simple computer program in SuperCollider to become my sustain pedal. This program places the bass's sound in a faux resonance chamber tuned to the pitches played throughout the piece (for the technically minded, this is done with tuned all pass filters in series—sort of like an intentionally poorly designed Schroeder reverb).
The piece is comprised of four large sections which overlap to form transitions. In addition to the digital resonances, the bass part takes copious advantage of the bass's resonant possibilities through the use of harmonics, open strings, and low pizzicato notes allowed to vibrate until they reach silence. These long-ringing pizzicati subdivide the piece, not necessarily coinciding with the four sections.”
Matthew Barber writes about his work: “I wrote Interface Chapel for Scott Worthington in 2008. It exists in two versions: one, which you will hear tonight, is a six-movement suite for solo contrabass and computer. The other situates these six movements among 22 others, played by members of a large ensemble. Each of the six movements is designed after one of six important abstract solid objects, collectively the sphere and the Platonic Solids. The Platonic Solids are the regular polyhedra, that is, for a given solid all of the faces and vertices are identical. Examples include the usual cube, the tetrahedron which is a 4-faced pyramid, and the octahedron which is like a pair of Egyptian pyramids glued base to base. In each movement except for Sphere I imagined assigning each face of a polyhedron to some musical idea, such as a tempo, a spatial placement, a timbre, a register, a specific musical figure and so forth. Next I imagined traveling from vertex to vertex until I reached all of them. A number of faces meet at a vertex, and so for a given section I draw only upon the elements assigned to the faces which meet at the vertex at hand. For the sphere I imagined traveling in various directed motions along the outside and inside surface. Each movement is in a different tuning system – some of these systems approximate mean-tone tunings, and some are more overtly microtonal.
In each movement I also use various contrapuntal techniques or constraints, which often depend upon the computer processing. In Octahedron all of the pitches are from open strings or harmonics. In Icosahedron the contrabass plays repeating patterns in different meters using a snare-drum stick, among prerecorded contrabasses playing similar repeating figures. Sphere has the most obvious processing, which seeks to echo and reflect the music played by the bass, and to add octaves above and below the pitches the bassist plays. Later on in the piece, the octaves change to perfect-12ths, and the corresponding underlying scale changes as well. You may hear Dodecahedron as a kind of quarter-tone “baroque” prelude, in straight 16th notes: some of the notes are prerecorded, though, so there is a secondary dance-like counterpoint between the live and recorded bass sounds. In Tetrahedron I use the computer to transpose the sound of the bass to make something which might sound like a microtonal version of a medieval vocal piece. Finally, Cube records the bass sounds and plays them back at different tempos (and therefore at different pitches) in counterpoint with the live bass, creating a kind of electronic canon.
Paul Koonce writes about his work: "My goal ... is to identify a kind of real-time voice and corporeality for electroacoustic music -- a kind of presence predicated on the linking of sophisticated sound models with non-trivial controls. The search for sound presence -- unbelievable presence -- has driven much of my electro-acoustic work going back to Hothouse and its concern with creating anomalous, ear-catching sound events."
This concert presents two of Koonce's seminal works. In Pins (1996) Koonce begins with the sound of children playing the classic video game “Pong”. These everyday sounds are manipulated and layered to create an evolving drama of sound. Sounds of street musicians, creaking doors, and forest insects blend with those of video games, office work, game shows, isolated musical instruments and traffic (among others) to create an always fluid fantastic daydream composed of varying densities of sonic reference.
As the title suggests Bernard Parmegiani's De Natura Sonorum (2001) is a collection of etudes on the nature of sounds. Already a tower in the style of composition known as musique concrete the fact that Parmegiani would humble himself in the composition of a series of etudes so late in his life is a testament to the ever inspiring resource Parmegiani found in everyday sounds and, as the title suggests, the nature of sound itself. Here we present two selections from a collection of 12 studies. In Incidences Résonances Parmegiani uses the ideas of resonance and interjection to create motives during his development of metallic timbres. In Conjugaison Du Timbre Parmegiani creates an almost pyschedelic exploration of the timbres of a low woodwind instrument through granular synthesis, layering, and filtering.
Koonce's Hothouse (1992) begins with what might be heard as a surreal recording session consisting of a drumset, upright bass, and a saxophone. The sounds of children and men's voices interject and give cause to the instruments' varied and wild responses. A more intense work than Pins, Hothouse's title undoubtedly references the term as it has been applied in the lore of Jazz music, a use of the term that invokes the idea of a space for vigorous growth and development. Here Koonce stretches the Jazz Trio using digital audio techniques to create a surreal, moody, and highly dramatic reflection of this tradition.
Scott Worthington writes about his work: “Before composing At Dusk, I had become jealous of pianists' ability to hold the sustain pedal of their instrument down indefinitely, allowing the strings to freely resonate, and hoped to find a way to let the bass resonate in a similar fashion. To this aim, I wrote a simple computer program in SuperCollider to become my sustain pedal. This program places the bass's sound in a faux resonance chamber tuned to the pitches played throughout the piece (for the technically minded, this is done with tuned all pass filters in series—sort of like an intentionally poorly designed Schroeder reverb).
The piece is comprised of four large sections which overlap to form transitions. In addition to the digital resonances, the bass part takes copious advantage of the bass's resonant possibilities through the use of harmonics, open strings, and low pizzicato notes allowed to vibrate until they reach silence. These long-ringing pizzicati subdivide the piece, not necessarily coinciding with the four sections.”
The Sound Theater
Music Under the Influence of Computers returns with:
The Sound Theater
featuring
Scott Worthington, Bass
7pm
Monday, april 4th, 2011
Calit2 Theater
Atkinson Hall
UCSD Campus
Program:
Interface Chapel (2008) - Mathew Barber
(Live Bass and Computer)
Pins (1996) - Paul Koonce
(surround sound)
Selections from De Natura Sonorum (2001) - Bernard Parmegiani
(surround sound)
1. Incidences résonances
6. Conjugaison Du Timbre
Hothouse (1992) - Paul Koonce
(surround sound)
At Dusk (2009) - Scott Worthington
Tuesday, February 1, 2011
Program for MUTIOC 7pm - Wednesday, Feb. 2, 2011
The Art of Noise of Cartoons (2011) - David Medine
(video and surround sound)
Omphalos (2008) - Kerry Besharse
(surround sound)
Suburban Review: 1/8/2011, 4:45 - 5:50 pm (2011)
- Joachim Gossmann
(video and surround sound)
Change in the Summation (2007) - Jason Bolte
(surround sound)
Yet Another Allegiance (2011) - Rick Snow
(live video and surround sound)
Notes About the Program:
David Medine's The Art of Noise of Cartoons ('Backbeat' vs 'Freeze Frame')(2011) is an alternative way to look at a classic cartoon duo.
(ALERT: skip this paragraph if you are not interested in technical matters!)
The engine of this visualization is a search algorithm that finds frames of audio from the cartoon soundtrack that are the most similar sounding (according to the computer) to frames of audio from the actual sound that you hear ('Backbeat' by The Art of Noise). These audio frames are cross-referenced against the corresponding video from the cartoon and begin playback when a percussive attack is perceived.
Roadrunner cartoons have a very, very simple narrative. This makes scrambling the temporal events easily successful from a story-telling point of view. The ever optimistic, humanely expressive Coyote is continually foiled by the relentless machine-like Roadrunner. This is a touching tale of relentless hope and frustrated desire that we can all identify with. Plus, the 'toon physics that we see in the Roadrunner/Coyote saga are some of the best in the literature.
About Omphalos (2008) Kari Besharse writes:
In Greek, the word omphalos means "navel," but also means the center of the world. According to the ancient Greeks, Zeus sent out two eagles to fly across the world to meet at its center, the "navel" of the world. To mark the central point, a stone monument was placed at the oracle in Delphi. James Joyce also references the omphalos several times in the novel, Ulysses.
From these layered meanings, the idea of a center point was translated into personal terms. In my piece, Omphalos represents a search for mental peace and the connection between outer and inner worlds. The work is in the form of a journey from the far reaches of the universe, through the dissonant, active earth with its traffic and noise, into the soul, where hopefully one can find peace. However, a cognitive dissonance that exists between outer and inner worlds remains. There is always an interference pattern, or distortion that makes true inner peace perpetually ambiguous.
“To ourselves . . . new paganism . . . omphalos.”
- James Joyce, Ulysses
Joachim Gossmann's Suburban Review: 1/8/2011, 4:45 - 5:50 pm (2011) offers suggestively presented panoramas from the Thornton Hospital parking lot. The camera is at rest in this overlooked transitory space, a place usually visited only briefly while on the way somewhere else. Gossmann's video asks questions about the nature of this space as a permanent and often overlooked part of our landscape. Perhaps at its core, it is a study in positive and negative space.
Jason Bolte writes: Change in the Summation (2007) is a study of the continuum between the limits of pitched and noise-based materials, a change in the "spectral summation." The title also refers to a change in my own compositional practice; an exploration and conscious integration of controlled pitched material into the fabric and structure of the electroacoustic work. Change in the summation was awarded Second Prize at the 2008 ASCAP/SEAMUS Student Composition Competition, and was selected as a Finalist at the 2007 ETH Zurich Digital Arts Week Stereophonic Soundscape Competition.
In Yet Another Allegiance (2011) Rick Snow performs on an audiovisual instrument. The instrument offers the performer direct control over a virtual iris represented visually as an opening and closing window and aurally as a direct volume control. Accompanying each opening window is a collection of pitches and noises represented visually by a 3D analysis of the composite sound using a form of the Lissajous visualization of harmonic relationships. Psychological and dramatic behaviors and scenes are created, allowed to morph, and then destroyed in this dramatic work.
Sunday, January 30, 2011
VISIONS Wednesday February 2, 2011
MUTIOC returns with a collection of experimental audiovisual offerings by:
Kari Besharse : Omphalos
(surround sound)
Jason Bolte : Change in the Summation
(surround sound)
Joachim Gossmann : Suburban Review -1/8/2011, 4:45-5:30pm
(video and surround sound)
David Medine : The Art of Noise of Cartoons
(video and surround sound)
Rick Snow : Yet Another Allegiance
(live video and surround sound)
Please join us for this selection of exciting experimental audiovisual media.
Wednesday, January 12, 2011
LIQUID program:
Our 2011 season kicked off today. Thanks to everyone for coming out! Below is the program:
program notes for LIQUID:
Notes about the program:
This concert offers a collection of electronic works that each work with and against the idea of fluidity. In David Medine's 'The Robot Devil's Trill a violist performs into a non-linear reverberation system which veritably stretches the performed music into taffy. Enda Grennan's 'Magma' offers sound at its melting point while 'Urvogel' by John Greenwood and 'ac-4' by Stephen McCourt present tension filled gestural soundscapes inspired by physical gestalts.
ac-4 (2010) (14m20s) features vibrations, static, and sounds breaking apart. The piece forms a machine/human dialectic, and draws influence from cinematic montage, as new images are suggested through the juxtaposition of sounds in space and time.
Stephen McCourt is currently engaged in a PhD in Electroacoustic Composition at the University of Limerick. In 2008 he composed "ac-2" and "ac-3" for two visual works, "warp & weft" by Mary Wycherley, and "missing" by Holly Kennedy. In 2009 he completed "ac-1", which was performed in 2009 at Soundings in Limerick, and at the Sonic Arts Research Centre in Belfast. In 2010 he collaborated with Ian Wilson on the electronic score for "Una Santa Oscura", and completed "ac-4", which was performed at the CMC New Music concert and at Soundings in Limerick. He was also commissioned in 2010 to compose the music for "In This Moment", a collaboration between choreographer John Scott and video artist Charles Atlas. He performed this music live during a week of shows at the Project Art Centre in Dublin. In 2010 he presented two papers on his research, one at the EMS electroacoustic music conference in Shanghai and another at the Pierre Schaeffer MediArt conference in Rijeka.
Magma (2010) (6m59s) is a stereo piece composed in April 2010. The piece derives its title from the sound world it evokes; sounds that lie in the metaphorical melting point between the dichotomous forming principles of gesture and texture. The source material in the piece is the voice of popular hiphop artist Missy Elliot singing her hit single “Work it” . By reinterpreting material from popular culture, it could also be said that the piece is exploiting the postmodern notion of the simulacrum, a contested space where reality and representation collide.
Enda Grennan is a composer, sound designer and performer. He was awarded first prize in the Diffusion 2008 International Composition Competition for his six-channel piece entitled “Pneumatic Tautologies”. “Anima Insana in Corpore Sano” was composed in late 2007 and rewoked in 2009 to form the musical basis of “The Lightly Fragranced Solo”, a new work by the contemporary dance artist, Angie Smalis. The piece has been performed at many intenational festivals including the Islington Dance festival in London and will be performed at the forthcoming Dublin Dance festival. Since 2009, Enda has been working on a PhD in composition at the University of Limerick.
Urvogel (first bird) (2010) (12m10s) has its focus on gestural counterpoint in electroacoustic music. Gesture in music stems from a generic level of perception, where it is tied to gestalt perception, motor movement and mental imagery. Gestures, accordingly, are rich gestalts, that combine auditory information (hearing and movement) with implied visual information (imagining and movement), somato-sensory information (feeling and movement), and at a higher level of cognition, gestures are organized in groups and sequences, leading to musical form and narrative {Ole Kuhl}. In Urvogel, my research and thinking was focused on applying a form of functionalist perspective in composing sonorous objects through gestural counterpoint, and thus, investigating how it foretastes possibilities and prospect in the development of structure and form in both micro and macro levels of composition. On the narrative, Urvogel is a story about a trapped bird, first bird.
Composer and electronic music DJ John Samuel Greenwood is currently a Ph.D. student at University Limerick where he studies new music and electroacoustic composition under Kerry Hagan and Jurgen Simpson. The focus of his Ph.D. includes new approaches to composition through the study and research of gesture. Previous gestural works such as ‘Stressful Gestures’ and ‘Python in a toy box’, have been presented at SARC in Belfast, NUI Maynooth and also at the increasingly popular 'Soundings' performances. He has recently co-composed the electronic score for the multi-media production ‘Un Santa Oscura’, by established Irish composer Ian Wilson which was released in March 2010.
The Robot Devil's Trill -- David Medine (b. 1882)
This piece consists of me playing Guiseppe Tartini's 1713 violin Sonata,'The Devil's Trill' on viola (for some reason) and spitting that signal through a non-linear reverb/variable delay system (which I pretty much copied from something that Miller Puckette showed me). The system analyzes the performance and distorts the sound accordingly.
There is a famous story about the inception of Tartini's sonata. He claims to have dreamt that The Devil came to visit him and the composer (a moster violin virtuoso) gave him his violin to see if The Devil could play. The Devil proceeded to play with unparalleled virtuosity a sonata of singular beauty.
Tartini awoke and wrote down the piece which was still buzzing in his head.
The inception of this version of the piece is far less mythic so I won't bother to relate it.
This concert offers a collection of electronic works that each work with and against the idea of fluidity. In David Medine's 'The Robot Devil's Trill a violist performs into a non-linear reverberation system which veritably stretches the performed music into taffy. Enda Grennan's 'Magma' offers sound at its melting point while 'Urvogel' by John Greenwood and 'ac-4' by Stephen McCourt present tension filled gestural soundscapes inspired by physical gestalts.
ac-4 (2010) (14m20s) features vibrations, static, and sounds breaking apart. The piece forms a machine/human dialectic, and draws influence from cinematic montage, as new images are suggested through the juxtaposition of sounds in space and time.
Stephen McCourt is currently engaged in a PhD in Electroacoustic Composition at the University of Limerick. In 2008 he composed "ac-2" and "ac-3" for two visual works, "warp & weft" by Mary Wycherley, and "missing" by Holly Kennedy. In 2009 he completed "ac-1", which was performed in 2009 at Soundings in Limerick, and at the Sonic Arts Research Centre in Belfast. In 2010 he collaborated with Ian Wilson on the electronic score for "Una Santa Oscura", and completed "ac-4", which was performed at the CMC New Music concert and at Soundings in Limerick. He was also commissioned in 2010 to compose the music for "In This Moment", a collaboration between choreographer John Scott and video artist Charles Atlas. He performed this music live during a week of shows at the Project Art Centre in Dublin. In 2010 he presented two papers on his research, one at the EMS electroacoustic music conference in Shanghai and another at the Pierre Schaeffer MediArt conference in Rijeka.
Magma (2010) (6m59s) is a stereo piece composed in April 2010. The piece derives its title from the sound world it evokes; sounds that lie in the metaphorical melting point between the dichotomous forming principles of gesture and texture. The source material in the piece is the voice of popular hiphop artist Missy Elliot singing her hit single “Work it” . By reinterpreting material from popular culture, it could also be said that the piece is exploiting the postmodern notion of the simulacrum, a contested space where reality and representation collide.
Enda Grennan is a composer, sound designer and performer. He was awarded first prize in the Diffusion 2008 International Composition Competition for his six-channel piece entitled “Pneumatic Tautologies”. “Anima Insana in Corpore Sano” was composed in late 2007 and rewoked in 2009 to form the musical basis of “The Lightly Fragranced Solo”, a new work by the contemporary dance artist, Angie Smalis. The piece has been performed at many intenational festivals including the Islington Dance festival in London and will be performed at the forthcoming Dublin Dance festival. Since 2009, Enda has been working on a PhD in composition at the University of Limerick.
Urvogel (first bird) (2010) (12m10s) has its focus on gestural counterpoint in electroacoustic music. Gesture in music stems from a generic level of perception, where it is tied to gestalt perception, motor movement and mental imagery. Gestures, accordingly, are rich gestalts, that combine auditory information (hearing and movement) with implied visual information (imagining and movement), somato-sensory information (feeling and movement), and at a higher level of cognition, gestures are organized in groups and sequences, leading to musical form and narrative {Ole Kuhl}. In Urvogel, my research and thinking was focused on applying a form of functionalist perspective in composing sonorous objects through gestural counterpoint, and thus, investigating how it foretastes possibilities and prospect in the development of structure and form in both micro and macro levels of composition. On the narrative, Urvogel is a story about a trapped bird, first bird.
Composer and electronic music DJ John Samuel Greenwood is currently a Ph.D. student at University Limerick where he studies new music and electroacoustic composition under Kerry Hagan and Jurgen Simpson. The focus of his Ph.D. includes new approaches to composition through the study and research of gesture. Previous gestural works such as ‘Stressful Gestures’ and ‘Python in a toy box’, have been presented at SARC in Belfast, NUI Maynooth and also at the increasingly popular 'Soundings' performances. He has recently co-composed the electronic score for the multi-media production ‘Un Santa Oscura’, by established Irish composer Ian Wilson which was released in March 2010.
The Robot Devil's Trill -- David Medine (b. 1882)
This piece consists of me playing Guiseppe Tartini's 1713 violin Sonata,'The Devil's Trill' on viola (for some reason) and spitting that signal through a non-linear reverb/variable delay system (which I pretty much copied from something that Miller Puckette showed me). The system analyzes the performance and distorts the sound accordingly.
There is a famous story about the inception of Tartini's sonata. He claims to have dreamt that The Devil came to visit him and the composer (a moster violin virtuoso) gave him his violin to see if The Devil could play. The Devil proceeded to play with unparalleled virtuosity a sonata of singular beauty.
Tartini awoke and wrote down the piece which was still buzzing in his head.
The inception of this version of the piece is far less mythic so I won't bother to relate it.
Thursday, November 11, 2010
Consumed
In the end we are very happy that we were able to perform all the music on the program at such a high level. Our community is so lucky to have musicians and technicians dedicated to high level performance of pretty tricky music!
Tuesday, November 2, 2010
Monday, May 3, 2010
- UK electric -
6pm May 3rd
Blackbox Auditorium, Atkinson Hall - on the campus of UCSD
- UK electric -
This program is curated by Adam Stansbie and features a collection of award winning compositions by UK composers.
program:
Diana Simpson – Papyrus (2008) – 8’25”
Erik Nyström – Elemental Chemistry (2009) - 13’38”
Lee Fraser – Narrows (2009) – 5’12”
Nikos Stavropoulos – Nyctinasty (2009) – 10’09”
-Interval-
Adam Stansbie – Escapade (2010) – 9’44”
Graeme Truslove - Divergent Dialogues (2006) – 8’31”
Ambrose Seddon – The Nowness of Everything (2009) – 13’32”
Aki Pasoulas – Arborescences (2008) – 11’24”
Notes about the composers and pieces:
Much of the material for Papyrus was recorded for the creation of a soundtrack for a theatre production of The Yellow Wallpaper, based on the novel by Charlotte Perkins Gilman. A site- specific production of the theatre adaptation was directed by Rob Drummer and performed at the Manchester Museum in May 2008. The source recordings are almost exclusively of paper, from notepaper to large sheets of wallpaper. While composing this theatre soundtrack I was attracted to the intricate sonic details present in the closely recorded paper and was keen to explore their potential further in a standalone acousmatic concert work.
Papyrus explores the wide variety of spatial motions, trajectories and perspectives which can be created through the manipulation of this seemingly simple and lifeless material. The piece is an abstract exploration of these behaviours. There are four sections within the work, each one in turn metaphorically ‘torn’ to reveal a new section or layer.
Papyrus was awarded the Prix Destellos 2009.
Diana Simpson initially studied composition at the Royal Scottish Academy of Music and Drama with Alistair MacDonald, where she was awarded a BA, PGDipMus, and MMus with distinction. She recently completed a PhD in composition at the University of Manchester (UK), where she was supervised by David Berezan and funded by the Arts and Humanities Research Council and a Dewar Arts Award. She is currently a lecturer in music technology at Kingston University, London.
Her works have been performed throughout the UK and internationally, in Belgium, France, Germany, Spain, Italy, Brazil, Costa Rica and the USA. Work has also been broadcast on Swedish National Radio, Radio France, and BBC Radio 3.
She has been a prizewinner in a number of international competitions including Insulae Electronicae International Competition of Electroacoustic Music (2nd prize, 2004), CIMESP (International Electroacoustic Contest of São Paulo, Public Prize 2005, Honourable Mention 2007), the Bourges Competition of Electroacoustic Music (Residence Prize 2006), SCRIME (Prix SCRIME 2007), L’Espace du Son Diffusion Competition (2nd Prize, 2008), the Pauline Oliveros Prize (Honourable Mention, 2009), Música Viva (Prizewinner, 2009) and Prix Destellos (2009). Residencies include CEMI (Center for Experimental Music and Intermedia) at the University of North Texas, Atlantic Center for the Arts in Florida, the Institute for Electroacoustic Music in Sweden and Orford Center for the Arts, Montreal.
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One of the curiosities that guided the creation of Elemental Chemistry was a concern with sound environments. Recognising the textural similarities between acoustic and synthesised environments, I was intrigued to explore the aesthetic possibilities of going beyond a dualistic attitude, towards an integral sound universe which is more than a combination of contrasting source materials.
The piece is developed from nature recordings, which are obscured and suffused with synthesized morphologies, in the pursuit of a plasmic amalgamation of spaces, united by elemental structures. In a coalescence of the elements of sound and the elements of nature, a more abstract sound world is created, where a higher logic of behaviours, textures and gestures almost refutes the duality between real and imaginary. Here, the whole and the parts are simultaneously present; elemental sonorities and abstract forms coincide with a continuously warping nature of complex textures and spaces. As in nature, one process ignites another and equilibrium is only relative and momentary; as a new environment has emerged, another is always in the making.
Erik Nyström is an electroacoustic composer born in Sweden and based in London. His educational background includes a BA (Hons.) in Audio Engineering from SAE in London and courses in Computer Music at CCMIX in Paris, with Gerard Pape and others. In 2008 he completed an MA in electroacoustic composition at City University, supervised by Denis Smalley and awarded with distinction. Currently, Erik Nyström is undertaking a PhD research concerning spatial texture in electroacoustic music at City University, also supervised by Smalley. Further preoccupations include acousmatic music in the context of choreography, which has led him to write works for contemporary dance performances and video. His works have been performed and broadcast in Brazil, France, Germany, Hungary, Argentina and the UK.
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The chief component of Narrows consists in a steadily shifting spectral form, which absorbs and recasts a range of less prominent but none less significant articles, rather like some transparent adhesive substance coursing through the debris of a recent devastation, churning up once intact, now nebulous materials and forging unique configurations from their bounty in its train. At once neutral and tenacious, this fluid form plays host to a series of molecular interventions, such as the volatile iterations which interrupt its deep molten flow, or the glacial drape that hangs off, or spills from under its accumulative mass.
Narrows, refers to the streams of nebular activity, whose composite fibres describe serpentine routes and trace irregular trajectories through and around the transparent primordial substance, decorating and animating its otherwise featureless façade. In isolation, this fundamental property becomes an unconsummated body of potential, comparable to the sculpture's stone before it is distinguished. As such, it relies of the influence of its environment, and the memory of its encounters, to develop some kind of identity.
Lee Fraser (UK, 1981) began his formative musical education studying composition with Frank Denyer and David Prior at Dartington College of Arts, Devon. In 2006 he received a Bachelor’s degree in Sonic Arts from Middlesex University and, in 2009, completed an MA in electroacoustic composition under the supervision of Denis Smalley at City University, London.
Lee is also member of the London-based improvisation group Uteffekt and has reworked material for the sound artist and composer Mikhail Karikis, released on the Sub Rosa imprint in 2009. His music have been presented in concert and broadcast throughout Europe and North America.
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Nyctinasty is concerned with organic movement, growth or reduction, as reaction to stimulus. Stimuli are either present in the sonic world of the work or implied. The title, borrowed from botany, refers to nastic (non-directional responses to stimuli) movement in the dark. The events portrayed in this piece are fictitious, and any resemblance to real events, past, present, or future, is entirely coincidental but highly probable. The work was realised at the composer’s home studio in the summer of 2009. Nyctinasty was awarded the first prize at the Punto de Encuentro Canarias International Electroacoustic Composition Competition 2009.
Nikos Stavropoulos was born in Athens in 1975. He studied Piano, harmony and counterpoint at the National School of Music and Nakas conservatoire in Greece. In 2000 he graduated from the Music Department of the University of Wales, Bangor where the next year he was awarded an MMus in electroacoustic composition studying with Dr. Andrew Lewis. He is currently working towards a PhD at the University of Sheffield Sound Studios with Dr. Adrian Moore. His works range from instrumental to tape and mixed media. He has composed music for video and dance and his works have been awarded mentions and prizes at international competitions (Bourges, 2000,2002, Metamorphose, Brussels 2002, 2008, SCRIME, Bordeaux 2003, Musica Miso, Potrugal2004).
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Escapade was composed using tiny fragments of sound. At the start of the piece, the individual fragments are not perceived. Instead, they are so densely packed that they (perceptually) fuse into much larger structures; one hears the source recordings, which are largely, but not entirely, orchestral. As the piece progresses, the individual fragments become increasingly prominent; they no longer fuse into larger structures and are subsequently perceived as discrete units or entities. In this respect, Escapade was inspired by pointillistic painting – a technique in which small, distinct points of colour are used to form a larger image.
Escapade was composed in the studios at Musique & Recherchés, Belgium. I am extremely grateful to Annette Vande Gorne for her hospitality and support.
Adam Stansbie (1981) is a sound artist involved in the creation and performance of electroacoustic music. He has presented works at festivals and concerts throughout Europe, Asia, North and South America and Australasia and has won awards at the Bourges International Competition, France (2006) and the International Acousmatic Competition ‘Metamorphosis’, Belgium (2006). Adam has worked in various prestigious European studios (including the IMEB, France (2007, 2008), Musique et Recherché, Belgium (2009) and VICC, Sweden (2010)), has taught at several HE institutions and is currently Lecturer in Music, Sound and Performance at Leeds Metropolitan University.
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Divergent Dialogues exploits the fact that, in the studio under close microphone conditions, no two articulations of the same source sound are identical - there are always minute variations in timbre. This piece attempts to use these subtle differences as a vehicle for musical expression. The source recordings used to create the work were: two stones colliding, a rubber string being plucked, a piece of cardboard being creased and a sheet of plastic being twisted. An instrument was designed using MAX/MSP to create gestures from these recorded impulses, allowing them to be intuitively distributed throughout virtual space.
Graeme Truslove is a composer and performer based in Glasgow, Scotland. His output includes: Electroacoustic and Instrumental Composition, Live Sound Design for Theatre, Sound-Art Installations, Audio-Visual Art, and Improvisation - performing on guitar and laptop in a variety of small ensembles. His work is largely concerned with conflicts between intuitive performance and the fixed-medium, often exploring how fixed-medium expressive and structural possibilities can be integrated into improvised performance and vice versa. His approach integrates multiple strata of musical time, ranging from macrostructure down to the formation of timbre itself, conceived in terms of the sonic grain.
He has held a compositional residency at L'Institut Universitari de l'Audiovisual, Barcelona. His music has won awards from: The Dewar Arts Awards, The Scottish Arts Council, The Performing Rights Society Foundation, The Phonos Foundation, Sociedad General de Autores y Editores (S.G.A.E), The Prince’s Trust and others. His work has been performed both in the UK and internationally. Recent performances include the International Computer Music Conference (ICMC) in Montreal 2009, and the Zeppelin sound art festival Barcelona 2009. Graeme has a PhD in composition from the University of Glasgow, where he studied with Nick Fells.
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The Nowness of Everything
“As much as we would like to call back yesterday and indeed yearn to, and ache to sometimes, we can’t, it’s in us but we can’t actually, it’s not there in front of us…The only thing you know for sure is the present tense, and that nowness becomes so vivid to me that, almost in a perverse sort of way, I’m almost serene. You know, I can celebrate life.
Below my window in Ross, when I’m working in Ross, for example, there at this season, the blossom is out in full now…it’s a plum tree, it looks like apple blossom but it’s white, and looking at it, instead of saying ‘Oh that’s nice blossom’…last week looking at it through the window when I’m writing, I see it is the whitest, frothiest, blossomest blossom that there ever could be, and I can see it. Things are both more trivial than they ever could be, and more important than they ever were, and the difference between the trivial and the important doesn’t seem to matter. But the nowness of everything is absolutely wondrous.”
Acclaimed television dramatist Dennis Potter speaking in an interview in March 1994, knowing that he has a few weeks to live.
This music celebrates the details and qualities of the ‘everyday’: in this case, everyday sounds, generated by everyday objects and events. By expanding those moments, captured when making the source recordings, this piece is made of new ‘present tenses’ that are inspired by both the obvious and more hidden qualities of those everyday experiences.
It was made in 2009.
Ambrose Seddon has a background in rock and electronic pop music. After graduating with a degree in music from Goldsmiths College, University of London, he spent a number of years teaching, while writing, producing and performing in various bands, with releases through a number of independent record labels. He completed a Masters degree in electroacoustic composition at City University in 2004, and now continues his studies at City University as a PhD student, supervised by Denis Smalley. His acousmatic works have been performed internationally in concert and on radio. The piece Fouram (2005) received 1st prize in the 2006 Visiones Sonoras Electroacoustic Music Compostion Competition, Mexico, and was awarded the European Composition Prize at the International Computer Music Conference, Copenhagen, 2007.
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Arborescences is a stereo acousmatic composition. The sound material derives from particular resonances and timbres produced by striking, rubbing and scraping an assortment of gamelan instruments. Most of the sonic images in the piece are not recognisable as instrumental sounds because of the extended processing, which focuses on developing particular gestures and textures based on micro elements and groups of partials extracted from the recorded events. The composition explores temporal syntax based on my research on timescales. Timescales at various points in the piece move at different paces, so that arborescent structures move apart and then meet again. Periodicities turn into erratic behaviour and the opposite, undergoing a number of processes of change at the same time. Arborescences received a special mention in the Métamorphoses 2008 international acousmatic composition competition, and was selected for the ICMC 2009 in Montreal, Canada, the SMC 2009 in Porto, Portugal, the Sonoimágenes 2009 international acousmatic and multimedia festival in Buenos Aires, Argentina, and the 2010 ISCM World New Music Days festival in Sydney, Australia.
Aki Pasoulas teaches at the Universities of City London, Middlesex, and the Arts London, and he finalises his PhD under the supervision of Denis Smalley. His research project, funded by the AHRC, investigates the listener’s experience and interpretation of time passing, and the interrelationships among timescales in electroacoustic music. Further research interests include psychoacoustics, microsound and spatialisation. Aki has composed for various combinations of instruments, found objects, voice, recorded and electronic sound. He is a SPNM shortlisted composer, took part in many concerts worldwide, composed music for the theatre and for short films, and organised and performed with various ensembles.
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